NYFF’s showcase of the season’s most anticipated and significant films.
Q&A with Mike Mills, Joaquin Phoenix, and Molly Webster on Oct. 4A soulful Joaquin Phoenix plays Johnny, a kindhearted radio journalist taking care of his sister’s troubled young son while trying to complete a project in writer-director Mike Mills’s latest effort, another warm, insightful, and gratifyingly askew portrait of American family life.
Q&A with Denis Villeneuve on Oct. 7A mythic and emotionally charged hero’s journey, Dune tells the story of Paul Atreides (Timothée Chalamet), a brilliant and gifted young man born into a great destiny beyond his understanding in visionary filmmaker Denis Villeneuve’s adaptation of Frank Herbert’s seminal novel.
North American PremiereAs brimming with finely tuned texture as a juicy issue of a vintage magazine, The French Dispatch features precision work from a full masthead of collaborators, with director Wes Anderson’s deadpan whimsy complementing the film’s palpable sense of nostalgia.
North American PremiereCharlotte Gainsbourg’s wise and wondrous film about her legendary mother, Jane Birkin, consists of several intimate conversations between parent and child, affording a spare, loving window into the emotional lives of two women as they talk about subject matter that ranges from the delightful to the difficult.
Q&A with Maggie Gyllenhaal, Dakota Johnson, Paul Mescal, and Dagmara Dominczyk on Sept. 29In her striking feature directorial debut, Maggie Gyllenhaal adapts a 2006 novel by Elena Ferrante about Leda (brilliantly played by Oscar-winner Olivia Colman), a divorced professor on a solitary summer vacation who becomes intrigued and then oddly involved in the lives of another family she meets there.
North American PremiereIn his most achingly personal film to date, legendary Italian filmmaker Marco Bellocchio uses the occasion of a family reunion in his hometown of Piacenza to excavate and discuss a traumatic event: the suicide his twin brother Camillo.
Q&A with Sean Baker, Simon Rex, Bree Elizabeth Elrod, Suzanna Son, and Brittney Rodriguez on Sept. 29Adding to his gallery of jet-fueled portraits of economic hardship within marginalized pockets of the U.S., director Sean Baker trains his restless camera on Mikey, a wildly narcissistic former porn star who has returned from L.A. to his depressed, postindustrial hometown of Texas City.
We pay tribute to the centenary of late film programmer and festival co-founder Amos Vogel—who offered the city “films you cannot see elsewhere,” and whose uncompromising dedication to the medium’s radical possibilities inspired NYC film culture as it exists today—with a special Spotlight sidebar.
The Amos Vogel Centenary Retrospective is sponsored by:
Cinema 16 came to a close in 1963. That same year Vogel co-founded the New York Film Festival with Richard Roud, and, as the head of Lincoln Center’s film department, laid the groundwork for the FLC of today. For our tribute, we’ll be highlighting a number of works that were presented during Vogel’s tenure at the festival, each of which reflects, in different ways, his long-standing preoccupations as a programmer.
Long a source of inspiration for film programmers, Film as a Subversive Art is a guidebook to cinema’s outer limits, replete with tantalizing descriptions of some of the most radical movies ever made. First published in 1974, this lavishly illustrated volume can be seen as a culmination of Vogel’s work over the previous decades, chronicling as it does the taboo-busting potential of cinema, at the level of form as well as content.